Bitterly inspired as he is by the irony of the physiological tragedy of human life, Guy de Maupassant is at his greatest when he deals with the bizarre accidents that happen to the body; greatest of all when he deals with the last bizarre accident of all, the accident of death. The appalling grotesqueness of death, its brutal and impious levity, its crushing finality, have never been better written of. The savage ferocity with which he tears off the mask which the sentimental piety of generations has thrown over the features of their dead is no sign of frivolousness in him. The gravity of the undertaker is not an indication of deep emotion; nor is the jesting of Hamlet, as he stands above Ophelia's grave, a sign of an inhuman heart. The last insult of the scurrilous gods--their flinging us upon oblivion with so indecent, so lewd a disregard for every sort of seemliness--is answered in Guy de Maupassant by a ferocious irony almost equal to their own. But it would be unfair to let this dark-browed Norman go, without at least a passing allusion to the large and friendly manner in which he rakes up, out of brothel, out of gutter, out of tenement, out of sweat-shop, out of circus-tent, out of wharf shanty, out of barge cabin, every kind and species of human derelict to immortalise their vagrant humanity in the amber of his flawless style. There is a spacious hospitality about the man's genius which is a rare tonic to weary aesthetes, sick of the thin-spun theories of the schools. The sun-burnt humour of many queer tatterdemalions warms us, as we read him, into a fine indifference to nice points of human distinction. All manner of ragged nondescripts blink at us out of their tragic resignation and hint at a ribald reciprocity of nature, making the whole world kin. In his ultimate view of life, he was a drastic pessimist, and what we call materialism receives from his hands the clinching fiat of a terrific imprimatur. And this is well; this is as it should be. There are always literary persons to uphold the banners of mysticism and morality, idealism and good hope. There will always be plenty of talent "on the side of the angels" in these days, when it has become a kind of intellectual cant to cry aloud, "I am no materialist! Materialism has been disproved by the latest scientific thinkers!" To come back to the old, honest, downright, heathen recognition of the midnight, wherein all candles are put out, is quite a salutary experience. It is good that there should be a few great geniuses that are unmitigated materialists, and to whom the visible world is absolutely all there is. One is rendered more tolerant of the boisterousness of the players when one feels the play ends so finally and so soon. One is rendered less exacting towards the poor creatures of the earth when one recognises that their hour is so brief.